Cantata Santa María de Iquique
Encyclopedia
Santa María de Iquique, cantata popular is a cantata
composed in 1969 by the Chilean composer Luis Advis Vitaglich
, combining elements of both classical and folkloric/indigenous musical traditions to produce what became known as a popular cantata and one of Quilapayún
’s most acclaimed and popular music interpretation. The theme of the cantata is a historical industrial dispute that ended with the massacre of miners in the northern Chilean city of Iquique
in 1907. The reading is impeccably executed by the Chilean actor Hector Duvauchelle, who captures the increasingly tense struggle between the miners and their exploiters in the narrative. Instrumental interludes and songs empower the progression of the story leading to a final song which voices the miners demand for an end to exploitation with visions of an egalitarian and free world.
“This work, dedicated to Quilapayún
, was composed following the general guidelines of a classical cantata
. There is, albeit, a variant which refers to: literary-thematic aspects: the traditional religious motive has been replaced with one based on real events from the social order.”
“The musical stylistics: rather than avoid the European traditions, it has been amalgamated with melodic trends, harmonic modulations and rhythmic nuclei of American or Hispanic-American root. “
“Instrumental aspects: of the traditional orchestra we have only preserved the violoncello and the double bass
in supporting mode, joined by two guitars, two quena
s, one charango
and one Bombo legüero
. “
“Narrative aspects: the classical recitative
chant has been replaced by spoken narration. This contains rhythmic and metrical elements with the aim of not breaking the sonorous totality.”
at the Segundo Festival de la Nueva Canción Chilena (NCCh) (Second Festival of the New Chilean Song).
Despite the success of the work, it had its share of critics within the music world at the time of its release; some critics saw this work as too pretentious, complex and classical for it to be part of a popular neo-folkloric movement. This debate over what was authentic, what served “the cause” would grow in the years following the cantata’s release – creating serious dialectical confrontations on what materials were to be included or excluded from the NCCh.
Despite this the work was the highlight of the NCCh and a masterpiece of the Nueva Canción
in Latin America and many musicologists and musicians consider it one of the most important recorded musical composition in Latin American music history.
This great appreciation for the work didn’t appear to be shared by some members of Quilapayun
who saw in the existing work considerable room for improvement. In 1978, they assigned the Belgian/Argentine writer Julio Cortázar
to restructure part of the original text and they introduced minor modifications to the original recorded arrangements for a new version and recording. This was done without consulting the composer of the work, Luis Advis
, who upon hearing of the recording expressed great dismay and publicly attacked the artistic integrity of both Quilapayun and Julio Cortázar.
Additional Personnel
Cantata
A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir....
composed in 1969 by the Chilean composer Luis Advis Vitaglich
Luis Advis
Luis Advis Vitaglich was a Chilean professor of philosophy, and a noted composer of traditional and New Chilean music. He was officially recognized as a Fundamental Figure of Chilean Music in 2003.-Biography:...
, combining elements of both classical and folkloric/indigenous musical traditions to produce what became known as a popular cantata and one of Quilapayún
Quilapayún
Quilapayún are an instrumental and vocal folk music group from Chile and among the longest lasting and most influential exponents of the Nueva Canción Chilena movement. Formed in Chile during the mid-1960s, the group became inseparable with the revolution that occurred in the popular music of the...
’s most acclaimed and popular music interpretation. The theme of the cantata is a historical industrial dispute that ended with the massacre of miners in the northern Chilean city of Iquique
Iquique
Iquique is a port city and commune in northern Chile, capital of both the Iquique Province and Tarapacá Region. It lies on the Pacific coast, west of the Atacama Desert and the Pampa del Tamarugal. It had a population of 216,419 as of the 2002 census...
in 1907. The reading is impeccably executed by the Chilean actor Hector Duvauchelle, who captures the increasingly tense struggle between the miners and their exploiters in the narrative. Instrumental interludes and songs empower the progression of the story leading to a final song which voices the miners demand for an end to exploitation with visions of an egalitarian and free world.
Composer's Notes
The following are the statements made by Luis Advis, that appeared on the original booklet that accompanied the record release in 1970.“This work, dedicated to Quilapayún
Quilapayún
Quilapayún are an instrumental and vocal folk music group from Chile and among the longest lasting and most influential exponents of the Nueva Canción Chilena movement. Formed in Chile during the mid-1960s, the group became inseparable with the revolution that occurred in the popular music of the...
, was composed following the general guidelines of a classical cantata
Cantata
A cantata is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir....
. There is, albeit, a variant which refers to: literary-thematic aspects: the traditional religious motive has been replaced with one based on real events from the social order.”
“The musical stylistics: rather than avoid the European traditions, it has been amalgamated with melodic trends, harmonic modulations and rhythmic nuclei of American or Hispanic-American root. “
“Instrumental aspects: of the traditional orchestra we have only preserved the violoncello and the double bass
Double bass
The double bass, also called the string bass, upright bass, standup bass or contrabass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra, with strings usually tuned to E1, A1, D2 and G2...
in supporting mode, joined by two guitars, two quena
Quena
The quena is the traditional flute of the Andes. Usually made of bamboo or wood, it has 6 finger holes and one thumb hole and is open on both ends. To produce sound, the player closes the top end of the pipe with the flesh between his chin and lower lip, and blows a stream of air downward, along...
s, one charango
Charango
The charango is a small Andean stringed instrument of the lute family, 66 cm long, traditionally made with the shell of the back of an armadillo. Primarily played in traditional Andean music, and is sometimes used by other Latin American musicians. Many contemporary charangos are now made with...
and one Bombo legüero
Bombo legüero
Bombo legüero is an Argentine drum traditionally made of a hollowed tree trunk and covered with cured skins of animals such as goats, cows or sheep. It derives from the old European military drums, and uses a similar arrangement of hoops and leather thongs and loops to tighten the drumheads, which...
. “
“Narrative aspects: the classical recitative
Recitative
Recitative , also known by its Italian name "recitativo" , is a style of delivery in which a singer is allowed to adopt the rhythms of ordinary speech...
chant has been replaced by spoken narration. This contains rhythmic and metrical elements with the aim of not breaking the sonorous totality.”
History
The Cantata Santa Maria de Iquique represented QuilapayunQuilapayún
Quilapayún are an instrumental and vocal folk music group from Chile and among the longest lasting and most influential exponents of the Nueva Canción Chilena movement. Formed in Chile during the mid-1960s, the group became inseparable with the revolution that occurred in the popular music of the...
at the Segundo Festival de la Nueva Canción Chilena (NCCh) (Second Festival of the New Chilean Song).
Despite the success of the work, it had its share of critics within the music world at the time of its release; some critics saw this work as too pretentious, complex and classical for it to be part of a popular neo-folkloric movement. This debate over what was authentic, what served “the cause” would grow in the years following the cantata’s release – creating serious dialectical confrontations on what materials were to be included or excluded from the NCCh.
Despite this the work was the highlight of the NCCh and a masterpiece of the Nueva Canción
Nueva canción
Nueva canción is a movement and genre within Latin American and Iberian music of folk music, folk-inspired music and socially committed music...
in Latin America and many musicologists and musicians consider it one of the most important recorded musical composition in Latin American music history.
This great appreciation for the work didn’t appear to be shared by some members of Quilapayun
Quilapayún
Quilapayún are an instrumental and vocal folk music group from Chile and among the longest lasting and most influential exponents of the Nueva Canción Chilena movement. Formed in Chile during the mid-1960s, the group became inseparable with the revolution that occurred in the popular music of the...
who saw in the existing work considerable room for improvement. In 1978, they assigned the Belgian/Argentine writer Julio Cortázar
Julio Cortázar
Julio Cortázar, born Jules Florencio Cortázar, was an Argentine writer. Cortázar, known as one of the founders of the Latin American Boom, influenced an entire generation of Spanish speaking readers and writers in the Americas and Europe.-Early life:Cortázar's parents, Julio José Cortázar and...
to restructure part of the original text and they introduced minor modifications to the original recorded arrangements for a new version and recording. This was done without consulting the composer of the work, Luis Advis
Luis Advis
Luis Advis Vitaglich was a Chilean professor of philosophy, and a noted composer of traditional and New Chilean music. He was officially recognized as a Fundamental Figure of Chilean Music in 2003.-Biography:...
, who upon hearing of the recording expressed great dismay and publicly attacked the artistic integrity of both Quilapayun and Julio Cortázar.
Song listing
- ”Pregón” / Announcement (Solo vocal: Eduardo CarrascoEduardo CarrascoEduardo Guillermo Carrasco Pirard is a Chilean musician, university professor of philosophy, author, and one of the founders of the Chilean folk music group Quilapayún - and the group's musical director from 1969 to 1989....
) – 2:11 - ”Preludio instrumental” / Instrumental Prelude – 5:45
- ”Relato I” / Narrative I (Narration: Héctor Duvauchelle) – 2:11
- ”Canción I” / Choral Song I (“El sol en desierto grande…” / The sun in the great desert) – 2:21
- ”Interludio instrumental I” / Instrumental Interlude I – 1:33
- ”Relato II” / Narrative II (Narration: Héctor Duvauchelle) – 1:21
- ”Canción II” / Solo Song II [“Vamos mujer…” / We must leave woman…] (Solo vocal: Rodolfo ParadaRodolfo ParadaRodolfo Parada Lillo is a Chilean musician, composer, engineer and anthropologist. Parada joined Quilapayún in 1968, which made the group into a sextet - the formation which recorded the “Cantata Santa María de Iquique. Upon joining the group he became the major solo voice of the ensemble Rodolfo...
) – 2:08 - ”Interludio instrumental II” / Instrumental Interlude II – 1:44
- ”Relato III” / Narrative III (Narration: Héctor Duvauchelle) – 1:35
- ”Interludio cantado” /Sung interlude [“Se han unido con nosotros…” / They’ve joined with us] (solo vocals: Carlos Quezada) – 2:05
- ”Relato IV” / Narrative IV (Narration: Héctor Duvauchelle) – 1:00
- ”Canción III” / Song III [“Soy obrero pampino…” / I am a pampean worker…] (solo vocals: Willy Oddó) – 1:44
- ”Interludio instrumental III” / Instrumental Interlude III – 1:55
- ”Relato V” / Narrative V (Narration: Héctor Duvauchelle) – 2:14
- ”Canción letanía” / Supplicatory song (“Murieron tres mil seisientos…” / Three thousand six hundred died…) - 1:33
- ”Canción IV” / Song IV [“A los hombres de la Pampa…” / To the men of the Pampa...] (Solo vocals: Eduardo CarrascoEduardo CarrascoEduardo Guillermo Carrasco Pirard is a Chilean musician, university professor of philosophy, author, and one of the founders of the Chilean folk music group Quilapayún - and the group's musical director from 1969 to 1989....
) – 2:55 - ”Pregón II” / Announcement II (Solo Vocals: Hernán Gómez) – 0:32
- ”Canción final” / Final Song (“Ustedes que ya escucharon…” / You, who have now heard…) (Solo vocals: Patricio Castillo) – 2:50
Personnel
- Eduardo CarrascoEduardo CarrascoEduardo Guillermo Carrasco Pirard is a Chilean musician, university professor of philosophy, author, and one of the founders of the Chilean folk music group Quilapayún - and the group's musical director from 1969 to 1989....
- Rodolfo ParadaRodolfo ParadaRodolfo Parada Lillo is a Chilean musician, composer, engineer and anthropologist. Parada joined Quilapayún in 1968, which made the group into a sextet - the formation which recorded the “Cantata Santa María de Iquique. Upon joining the group he became the major solo voice of the ensemble Rodolfo...
- Willy Oddó
- Carlos Quezada
- Patricio Castillo (musician)Patricio CastilloPatricio Castillo is a Spanish-Chilean vocal actor, performer, singer and songwriter. He became well known for his roles in the Spanish language performing songs for HBO's Flight of the Conchords, Happy Feet, Charlie and the Chocolate Factory and Corpse Bride.-Career:In 2007, Castillo was signed as...
- Hernán Gomez
Additional Personnel
- Héctor Duvauchelle (NarratorNarratorA narrator is, within any story , the fictional or non-fictional, personal or impersonal entity who tells the story to the audience. When the narrator is also a character within the story, he or she is sometimes known as the viewpoint character. The narrator is one of three entities responsible for...
) - Eduardo Seinkiewicz (Violoncello)
- Luis Bignon (Double bassDouble bassThe double bass, also called the string bass, upright bass, standup bass or contrabass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra, with strings usually tuned to E1, A1, D2 and G2...
)